TC-2

Page tabs

Apr 11, 2014

This gigantic project consists of 6 woven panels, each 16' tall (~5,25 meters). This adds up to 96' or more than 30 meters of weaving! The work is a commission for Princeton University.

See Bhakti's Facebook page for more pictures and further details!

The TC-1 that Bhakti owns, is now 19 years old - and still going strong! How many of you have cars of this age? Or anything else, for that sake?
I am so proud that the TC-1 loom was Bhakti's choice for this commission!
Vibeke

Nov 6, 2013

I took a 5 day trip to Denmark to visit 2 schools that own TC1 and TC2 looms. The first part of my trip was to participate in a workshop offered by Lise Frolund and Grethe Sorensen at the School of Design in Kolding Denmark. The second part was to visit the Textile studio at the Danish School of Design in Copenhagen. They have the first TC2 sold in Denmark.

KOLDING

The Design School in Kolding has 1 TC1 loom and another 4 modules that
are installed in the frame of a traditional wooden loom. The TC1 was purchased
jointly and shared with an artists group. The terms of the arrangement are that
the loom is available to students in the school for some part of the year and
can be rented out via the artists’ group for the other part. The fee is nominal
and the minimal amount of time is 3 weeks.

The workshop was offered for free. There were 12 participants. The
reason Lise and Grethe offered this workshop was to promote the use of the TC1.

It is difficult to get access to a tool such as this
and it can be very expensive. The rental terms for this loom is arranged to
protect and support the creative and investigative process.As Lise said, “You have time to explore and to make
mistakes and learn from them and then to fix them.”

The loom is situated in the school’s weaving studio -
and it was noted that it was also a benefit for students to see artists working
on it.

Because I had already visited both Lise and Grethe’s
studios, I was prepared to see modules from the TC1 installed in a wooden framed loom. I nearly clapped in delight when Lise
showed a modification for using a variety of different reeds.

The important message from Lise and Grethe is that the
TC1 is a tool that pushes the boundaries away from the weaver. They haven’t
allowed the configuration of the modules or the width of their looms to
restrict their curiosity or vision. Where they have required it, they have
taken advantage of the flexibility of this tool- to a degree that is a lesson
to us all not to be ruled by our tools, but to use them fearlessly! They have
borrowed and swapped modules for years, placing them in a variety of loom
frames to suit their needs.Just think about that for a moment....

Grethe Sorensen

Lise Frolund

All of the participants had weaving backgrounds, some
had Photoshop experience, and less still had woven on a TC1.

There was very little “teaching” of how to design a
woven sample or how to use software.

The focus was getting something ready so that the participant
could walk up to the loom, turn it on, interpret the behavior of the
loom/computer interface, weave and see results. The point is that one could
self-teach the software; Photoshop for example, by taking advantage of the many
excellent resources available. There was also a table of books and catalogs of
work available to browse. During file preparation Lise, Grethe myself and the
participants provided support and advice.

When the fabric was cut off, it was very satisfying to
see the range and trajectories of everyone’s experiments. Each student had
woven 2 samples, a couple had woven more. A couple of the samples did not even
use weave structures....I am still thinking about this.

It was fairly clear to me that more than one
participants’ perspective had been permanently altered. It was also clear that
each participant had moved in her own direction feeling out her own new pathway...one of the most precious gifts a teacher or mentor can
provide.....exhilarating.

I am
excited to see what comes next!

THE DANISH DESIGN SCHOOL

Berthe Forchhammer and Marie Lund of Danish Design School

The Textile Studio in Copenhagen has the first TC2
sold in Denmark. It is the wide model and is fitted with 12 modules. The studio
itself is a light filled space with an amazing view of the harbor and Royal
Castle across. Courses and the studio are managed by 3 incredible instructors.
They also have access to a wide range of yarns, and tools. My visit was far too
short, but I was fortunate enough to interact with a small group of students
who had worked on the TC2.

We talked about their projects and their interests and
also a bit about their academic experiences. One of the recurring themes of our
discussion is the merging of ideas and practices of different disciplines to
create new work.

I had come to “check in” with the new loom -to see if
all was well and possibly to answer questions. I was maybe a little
disappointed as it turned out, the loom was operating excellently and there
were very few questions!

This must be a testament to the excellence of Marie
and Berthe and to the loom itself. Based upon my interactions with their
students.....I am also eager to see what comes next!

Sep 25, 2013

The project proposal for Cathryn’s sabbatical
is to complete a series of jacquard woven work that she has been working on for
several years. She has been working on a technique that incorporates brocading
work into complex woven structures. Her other proposal was to develop 2
exhibitions of work woven on the TC2. One exhibition to showcase artists
working here in Europe - which would travel to the U.S. and another that would
travel from the U.S. to Europe.

In the next four months while Cathryn is
here, there will be collaboration with Vibeke on a number of other projects
related to the TC2. They will be developing materials for demonstration,
pedagogical material for workshops and marketing materials to promote the loom
and its possibilities.

One outcome of working intensively on the
loom for an extended period is that she can offer feedback, and develop concepts
and educational a well as marketing tools for the collaboration with Vibeke.

Cathryn had proposed that during the course
of this year she would weave 10- 12 new pieces. In order to accomplish
this goal, it is necessary for her to draft new weave structures, finesse the
process of creating the digital files, test the colors and textures used and
learn to manage the loom and the software.

Before she left for Norway, Cathryn had woven a blanket for the projects.

Woven on her TC1 back in the US - the blanket of new colours!

We have the pleasure of Cathryn’s permission to give you a sneak peek on what she is working and testing on since she's arrived:

Look at all the vibrant colours

Close up of the details and textures

And if you are wondering how she had accomplished all those colours and intensity, she was using 10 shuttles!

That's a lot of work and impressive patience and skills!

About Cathryn Amidei:

“I have an MFA in textiles from Eastern
Michigan University. I have participated in a number of local, national and
international exhibitions. I currently teach in the Apparel, Textiles and
Merchandising program in the College of Technology at Eastern Michigan
University.

This project was designed to help revive my
art practice as well as to develop pedagogical material for teaching. The
ultimate goal is to develop an exhibition of work woven on the TC2.”

Aug 20, 2013

INTRODUCTIONI am privileged to have
access to two TC-1 looms in the Textile Art Studio at Kent State University.
But I was anxious to weave on the TC-2 away from the distractions of my school
responsibilities. My desire led to an inquiry in early 2013 when I was on a
Faculty Professional Development Leave at the university and took the
opportunity to write to Vibeke Vestby about the possibility of visiting Digital
Weaving Norway. Her response to my request was an invitation to be the first
Artist in Residence at DWN! The challenge for me then was to define a project
that would allow me to continue my current line of artistic investigation
during the brief concentrated time that I would be in residence in Norway.

BACKGROUND

In my woven art, I continue to explore
relationships of abstract systems as created with traditional and innovative
textile coloring/dyeing techniques and material contrasts in combination with
the generative processing of the computer and the digital loom. Some of these
systems or patterns are mathematically precise – hard-edged and geometric -
formed through the mechanical operation of the loom with its underlying matrix of
perpendicular threads. Other motifs evolve through the application of color
selectively applied to the threads – through painting or dye resists – prior to
weaving. The groundwork for developing the relationships of these multiple
networks is done on the computer where I make color decisions, design weave
structures and develop compositional strategies. But it is the final topography
of pattern that emerges through the physical interlacement of warp and weft
threads that establish the visual and textural complexity residing at the core
of my interests.

Although I sometimes produce work on
digital dobby looms, my ideas are best satisfied using the fluidity of lines
and range of scale and shape relationships that are achievable with jacquard or
single thread control technology. To that end, I often have weavings produced
on the power jacquards at the Pure County textile mill in North Carolina. While
I like the visual details that can be obtained with the high thread count I am
consistently drawn to making work that involves the intersection of technology
with the touch of the hand. Subtle unpredictable visual shifts that occur
through color and material interaction made possible through direct dyeing or
thread/yarn manipulation techniques provide a unique vocabulary for beauty and
meaning that form the foundation of my practice.

I also respond to the focused engagement
of the weaving process, an activity that marks time as the linear elements are
transformed into a continuous field of pattern. Remaining present to the
activity of making allows me to develop a stronger relationship with the work
under construction, enhancing my sensibility for this distinctive language in a
concrete and poetic way.

PROJECTI am a walker. I enjoy the activity of
walking with or without the purpose of destination. The repetitive movement of
my body in space has parallels to the physical aspects of the process of
weaving, and I have long been fascinated by the existence of the traditional
Random Walk weaving structure. I like the suggestion of continuous movement and
its underlying systematic logic. Learning that the concept of randomness and
the random walk form the foundation for a mathematical theory have provided
additional intrigue and correspondence. I respond to the idea of connections,
of dualities, of binaries - left and right, up and down, the singular (element)
and the continuous (network), the linear and circular. An extension of my
current work evolved from these thoughts and provided a focus for this
residency project.

After considering what I might
realistically be able to achieve with 10 concentrated days in the studio at
DWN, I painted a linen warp in sections using an atmospheric relationship of
colors and values – reflecting a sense of shadow and light with a palette of
hues of different temperatures. I determined that I would weave two sets of
small weavings first before concentrating on two large scaled pieces. I resist
dyed a thick linen yarn that I could work with as a shifting weft ikat along
the length of each piece. With each insertion of the weft I remained mindful of
the repetition of the process. The rhythm of the resisted shapes, united to
create a dynamic linear movement contrasted with the fluid almost gestural
patterns formed by the veil of warp threads which created a quality of
transparent layering.

It was invigorating to work in the
atmosphere at DWN housed in Tronrud Engineering, sharing the environment with
others engaged in a myriad of creative endeavors. I was able to successfully
complete a series of weavings.

OUTCOMEThe weavings produced during my
residency have laid the groundwork for future explorations. As I continue to
evaluate the relationships of elements that resulted from the connection of the
traditional shifting weft ikat process with the precise digital patterning and
tactile woven construction I am excited to move forward.

I am grateful to Vibeke Vestby and her
innovative TC-1/TC-2, a tool that has enhanced the potential of my art
practice. I would also like to thank Eli Skogsrud for her assistance with
threading the loom that made my weaving possible!

Jul 27, 2013

The exhibition opened on Tuesday 23rd July, and I was there because the TC2 is part of the exhibition! www.designmuseum.org The exhibition was focusing on new production tools and processes, new products, new materials and environmental issues such as recycling.

The highlights of the exhibition were tools in operation such as a laser cutter (cutting thin sheets of balsa-wood) and a 3-D printer (working with plastic). There were also two assembly robots piecing together a wooden construction, and then de-constructing and re-constructing it. There was a smart scanner that analyzed the materials contained in any given object, and calculated what would be extracted when recycling. In addition, the TC2 loom was on static display with various 3-D samples in the making. All samples were designed by Professor Philippa Brock, Central Saint Martins' School in London. She came to Norway and wove the samples before we sent the loom to the London Design Museum! Both on the wall next to the loom and on a pedestal near it were additional textiles by Philippa Brock.

3-D printed samples were both in titanium and plastic:

Carbon fibers for strong, light constructions were on disply, including a video showing multiaxial braiding.

An interesting use of laser cutting is that it offers new building techniques: Similar to logs in a log cabin, you can lock big constructions by fitting the parts into each other! Instead of nails and bolts, this offers a smart solution!

For me, the peak of the exhibition - of course - was the 3-D weavings by Philippa Brock! Below is a closeup of a large piece exhibited on the wall. Samples of this and related 3-D weavings were in the TC2 loom!

﻿

Philippa Broch's textiles apply engineered fibers such as reflective and elastic materials. The weave constructions make the textiles form 3-D textures when off the loom!

This exhibition actually highlights many of the core qualifications of Tronrud Engineering: We have expertise in 3-D printing, both with titanium and plastic, as well as laser- and water cutting! We develop machines using robots and advanced electronics. The TC2 is an example of a product that could not have been created without these tools and these quualifications!

Feb 21, 2013

Since just before Christmas I have worked on a project which involved making a very long warp:
I got excellent followup from the yarn vender, including bringing the yarn personally - on a Saturday! Eventually Anne Størseth made the warp on her beautiful wooden warping mill from the early 1950-ies. Some years ago, when she still produced large quantities of the beautiful handwoven Elise Jakhelln upholstry fabrics, she used to make 170 meter long warps on this machine!
The only modification we had to make, was to make bigger (taller) side flanges for the TC2 beam.
In the end we had 12 kilos of yarn wound on the beam. The moment of the arm was then far bigger than originally calculated, so it was exciting to see if the warp advaning worked as planned!

On the 28th of February I will be able to share with you what this project is!
Until then, please enjoy watching Katja weaving along!
I hope you notice that what makes the most noise is the shuttles :-)

Oct 31, 2012

Weavings, Drawings, Collages: <p>I am a specialist ... a Jacquard-weaving specialist.</p><p>For the last decade, I&rsquo;ve used the Jacquard loom as the primary tool to make my work. <em></em></p><p>In May 2012, I left a tenured teaching position at the School of the Art Institute of Chicago (SAIC) to relocate my life and practice to Los Angeles.&nbsp; During my 7 years at SAIC I had the pleasure of teaching hundreds of students how to incorporate this very old, and somewhat obsolete, technology into their art practices. And I am one of only a handful of artists worldwide who has chosen to focus their art practice around this loom &ndash; my work has been shown over the years at venues such as the Smithsonian Museum of American Art&rsquo;s Renwick Gallery, The Milwaukee Art Museum and the Contemporary Arts Museum Houston.</p><p>Unfortunately, the nearest hand-operated Jacquard loom is over 350 miles away from Los Angeles. A sense of displacement from the tool I know and love is becoming very real as I realize how difficult it will be for me to continue working in the way I am accustomed as a full-time studio-based artist in Los Angeles.</p><p>Through this campaign I hope